Federico Giannini è giornalista, direttore responsabile di Finestre sull'Arte. Nato a Massa nel 1986, si è laureato nel 2010 in Informatica Umanistica all’Università di Pisa. Nel 2009 ha iniziato a lavorare nel settore della comunicazione su web, con particolare riferimento alla comunicazione per i beni culturali. Iscritto all’Ordine Nazionale dei Giornalisti dal 2017, specializzato in arte e storia dell’arte. Nel 2017 ha fondato con Ilaria Baratta la rivista Finestre sull’Arte, iscritta al registro della stampa del Tribunale di Massa dal giugno 2017. Dalla fondazione è direttore responsabile della rivista. Collabora e ha collaborato con diverse riviste, tra cui Art e Dossier e Left. Al suo attivo anche docenze in materia di giornalismo culturale (presso Università di Genova e Ordine dei Giornalisti). Per la televisione è stato autore del documentario Le mani dell’arte (Rai 5) ed è stato tra i presentatori del programma Dorian – L’arte non invecchia (Rai 5). Partecipa regolarmente come relatore e moderatore su temi di arte e cultura a numerosi convegni (tra gli altri: Lu.Bec. Lucca Beni Culturali, Ro.Me Exhibition, Con-Vivere Festival, TTG Travel Experience).
All the articles by Federico Giannini on Finestre sull'Arte
Those who arrive at the Rovigo Rotunda from the most beautiful and most convenient street, the one leading to the long square opened in 1864, are in danger of being fooled: a lawn, pines, two wings of cobblestones and two rows of colorful houses that...
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This is not the first time on these pages that we have dealt with the FAI days. Certainly a commendable initiative, since the Fondo Ambiente Italiano offers the possibility to visit, throughout Italy, sites that would otherwise be closed, or little o...
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What reasons still prevent Verona from having its great museum, its Great Castelvecchio, a complex that is finally united in all its parts, and that may yet prove to be, as it was more than fifty years ago, a model capable of innovating, of opening u...
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Wanting to choose one work that can offer an effective synthesis of the 18th Rome Quadrennial, Fantastica, which opened a few days ago at the Palazzo delle Esposizioni, I would not have many doubts and would immediately point to a painting by Siro Cu...
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Exactly seventy-five years have passed since Francesco Arcangeli wished the arrival of a "good day" for Simone Cantarini as well, "a name unknown to most, the name of a short-lived schoolboy of the far more famous Guido Reni." And it is still difficu...
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It is safe to assume that John Ruskin had not grasped the paradox inherent in the compliment he had intended for Blessed Angelico when he wrote that Fra' Giovanni da Fiesole formed a class of his own, meaning that "he was not an artist proper, but an...
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One can rejoice in reading the article that Gian Maria Tosatti wrote about ten days ago for the Domenicale of Il Sole 24 Ore, and to draw a happy hope in noting that even Tosatti, though firm in his twentieth-century idea of hegemonic debate, seems t...
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In spite of all the hype, in spite of all the celebrations, and in spite of an exhibition that should have established a milestone, the question of the SpanishEcce Homo given to Caravaggio appears far from settled. If the major exhibition at Palazzo ...
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